Li Chongyuan

Li Chongyuan

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Li Chongyuan lived around 1122 (Xuanhe, Huizong of Song Dynasty). Huang Sheng of the Southern Song Dynasty compiled four poems in his anthology Huaan Ci and quansong Ci, which chanted spring, summer, autumn and winter respectively. There are two poems in graceful CI.

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Recalling Wang Sunchun's Ci

Luxuriant grass remembers Wang and sun.

Liu Wailou is dead in the sky.

Du Yu couldn't bear to hear it.

In the evening. The rain beat the pear blossom deep and shut the door.

Li Chongyuan's poems are only four (spring Ci, summer Ci, autumn Ci and winter CI) in his memory of Wang sun.

What this poem expresses is an old theme: sorrow in spring.

In terms of the words used, the whole word is nothing more than the common vocabulary used in Song Ci, such as liuwaigaolou, Fangcao Xiyang, lihuadaiyu, dusk Azalea. However, just as a talented composer can form countless wonderful movements with only seven different combinations of notes, this word also describes an independent and irreplaceable artistic image with its infectious image combination and natural and exquisite conception without any trace.

Let's take a look at the structure of the word first. This poem is mainly about scenery, which conveys a kind of sad spring thoughts. The deep and subtle feeling of the fragrance is gradually deepened and displayed through the transformation of the scenery. In the transformation of the scene, ci writing is a kind of mental characteristics from big to small, gradually ending, and finally closing. The beginning of this word shows a kind of broad sad blue color: even the grass in the sky, thousands of miles of luxuriant, far from the eye, the ancient road is clear and green, and the missing people are even outside the grass in the end of the world, and the hearts of the people in the boudoir are also gently floating to the end of the sky. In this sentence, both the feeling and the scenery present a kind of deep and subtle feature. Next, the scene ends with willows at the end of the road in the field and tall buildings outside. Then, in the sound of cuckoos, it will be dusk, and as time goes on, the scene will end again as pear flowers with spring rain. Finally, the dark color enters the courtyard, and the scene ends with a silent close-up. It can be imagined that the hearts of the closed door people wandering thousands of miles away will finally return to their closed hearts. The structure of ci writing is from big to small, from outside to inside, from scenery to emotion, which shows the characteristics of ending. This feature accurately shows the introverted mentality of ancient women.

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Another feature of this word is that it doesn't focus on refining words and sentences, because we can see that the most common images are selected in the word. Most of these images have appeared repeatedly in the previous poems, accumulating rich connotations and deep feelings of national culture. Image itself has a strong "tension" of beauty, which is enough to mobilize the accumulation of people's life culture, so as to help readers imagine the beautiful artistic conception. For example, the grass, willow, tall building, Du Yu and pear flower are all the basic images in Chinese elegant literature. After being sung by poets of all ages, these images have the ability to feel and respond to the sound. That is to say, in terms of "willow", from "willow Yiyi" in the book of songs to "merciless willow in Taicheng" in Weizhuang, from Li Bai's "the spring wind knows no pain, and does not send willow green" to Liu Yong's "willow shore, the morning wind and the waning moon", how many Chinese literati's melancholy are embedded in that wisp of willow silk! When people read this word, they will feel the lingering worry and resentment in varying degrees with their respective cultural accumulation. Another example is "Fangcao", "wangsun You Xi Bu GUI, Chuncao Sheng Xi luxuriant" (Huainan Xiaoshan "zhaoyinshi"): "remember green skirt, everywhere pity Fangcao" (Niu Xiji's "shengchazi"): "leave hate but like Chuncao, go farther still alive" (Li Yu's "qingpingle"): "Fangcao merciless, more outside the setting sun" (Fan Zhongyan's "Su Mu Zha") The grass everywhere carries the endless love of the wanderer.

Most of the other images in this poem are also associated with this kind of beauty. Therefore, when the author skillfully combines these images together, it forms a more rich and enlightening picture. So people find strangeness in familiarity and infinity in finiteness.

In reading such words, aftertaste is more important than thinking, association is more important than analysis. You get more than the literal meaning of a few words.

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Li Chongyuan also wrote:

Memories of Wang sun · Xia

Fengpu hunting small pond, after rain lotus full of fragrance. Shen Li and Fu Gua are cool in ice and snow. Bamboo square bed, needle and thread lazy nianwu dream long.

Memories of Wang sun · Qiu

The wind is chilly, the grass flowers are in autumn, and the moon slants against the building. Twelve bead curtains don't bite. Dim eyes, a little fishing lantern, ancient ferry head.

Memories of Wang sun · Dong

Tongyun wind sweeps snow, clear in the early days, outside the sky, there are three lonely Hongs. I can't bear to hear it. Moon cage bright, plum blossom thin shadow horizontal outside the window.

Chinese PinYin : Li Zhong Yuan